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Again, Mike's Murder

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Yesterday's article about movies that never made it to DVD (i.e., "The Disappeared") got me thinking again about James Bridges' Mike's Murder (1984), which I wrote about 13 months ago. The point was to urge Warner Home Video to release it on DVD, and if possible to release the original Bridges cut. A print of this version exists, according to Bridges' longtime partner Jack Larson (with whom I spoke after the article was posted). And so I'm basically bugging WHV's George Feltenstein again, is what it comes down to.

Here's Pauline Kael's mini-review: "Debra Winger, in a superb full-scale starring performance, as a radiantly sane young bank teller in LA who has an affair with a curly-haired clear-faced young tennis instructor called Mike (Mark Keyloun). It's a wobbly affair: She hears from him randomly over the course of two years -- whenever the mood hits him, he phones her. One night, he's supposed to come over late, but he doesn't show. When she gets a call telling her he's dead, it's abrupt, bewildering. She can't let go of him so quickly, and she tries to find out everything she can.

"Winger has thick, long, loose hair and a deep, sensual beauty in this movie. James Bridges, who directed, wrote the role for her after directing her in Urban Cowboy, and her performance suggests what Antonioni seemed to be trying to get from Jeanne Moreau in La Notte , only it really works with Winger -- maybe because there's nothing sullen or closed about her. The picture is atmospheric yet underpopulated; at times, it feels thin, and it turns into overheated melodrama in a sequence featuring Darrell Larson.

"But its view of the cocaine subculture (or culture) of LA is probably Bridges' most original and daring effort, and it has a brief, intense appearance by Paul Winfield (as the record producer who brought Mike to LA) that's right up there with Winger's acting. With Brooke Alderson, Robert Crosson as Sam, and Daniel Shor as Richard, the performance artist. The Warner executives refused to release the picture until Bridges made some cuts and changes, and they probably breathed a few sighs of relief as they buried it."

Here's part of what I wrote last March: "It didn't register very strongly in the mid-Reagan era because it didn't shoot for the stratosphere or deliver fierce visceral thrills, which is what audiences seemed to be responding to more and more back then. (The '70s heyday had drawn to a close, and blunt-impact movies -- sci-fi epics, actioners, tits-and-zits comedies -- were gaining big- time.) But it handled itself and its subject -- the L.A. drug-dealing scene -- in a way that was almost deceptively powerful. It's a sad and somber little piece that leaves a haunting after-vibe.

"And it had some unusually penetrating performances from Debra Winger, Paul Winfield, Mark Keyloun (a newcomer at the time who seemed to work mostly on television after Mike's Murder and who retired from acting in the early '90s) and Darrell Larson. There was real ache and loneliness in their emoting. Which lent unusual gravity to a story that structurally was only a murder-mystery.

"I wish I could find at least a fragment of Kael's New Yorker review online. I remember how her review noted that a N.Y. Times TV page editor had written 'skip it' in response to an airing of Mike's Murder on a New York-area station, and Kael saying in response, 'Please, don't skip it.'

Winger plays Betty, a practical minded but lonely bank teller living in Brentwood. She falls for Mike, a light-hearted tennis instructor (Keyloun) who spends a single night with her after a brief flirtation. He's obviously immature and irresponsible, not returning calls and whatnot, but she can't let him go. Then after he doesn't show up for a date, Betty learns to her shock that he's been slain by drug dealers.

"And so she decides to assuage her pain by looking into his sordid past to learn what happened, and the journey she takes into the toney, drug-dealing underworld that gives Mike's Murder its strange, unsettling edge.

"An IMDB posting by James Sanford says that Mike's Murder has "a beautifully evoked, vaguely creepy atmosphere that hangs over every scene....the crime that sets the story in motion remains unsolved at the end, and perhaps that's how it should be. It's not important who really killed Mike Chuhutsky, Bridges seems to be saying. Not when it's so obvious what killed him."

"It's been over ten years since I've seen Mike's Murder, but I remember three things in particular: (a) the look of immense sadness on Winfield's face as his character, a wealthy gay man who had a thing for Mike, considers the character flaws that led to his death, (b) the horrific howl that comes out of Larson, Mike's not-very-smart best friend, as he's about to be murdered by thugs for having stolen cocaine from a major dealer who lives in the hills, and (c) a nifty little sequence in the very beginning that shows a hamburger being prepared at Tomy's on Pico Blvd."

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Posted by Jeffrey Wells on April 10, 2009 at 9:51 AM

comment #1

maxfm says ...

I remember seeing this on VHS a year or so after its initial release, and I loved it. Winfield's appearance, indeed, particularly stands out.

I've always been a fan of Bridges' work (Urban Cowboy nailed that Southern vibe, but since Bridges was from Arkansas, I suppose that was to be expected), so a director's cut would be wonderful.

Posted by maxfm at April 10, 2009 10:35 AM

comment #2

MilkMan says ...

Winger was so cute-n-sexy back in the late 70s, early 80s. She is very underrated as a movie star, and to me she is acquiring some kind of mysterious air around her, even though I don't know quite what it is. I know she has been in some movies recently, but there is no way I am watching something like Rachel Getting Married in order to see what she is up to these days.

Posted by MilkMan at April 10, 2009 10:48 AM

comment #3

jimtheindiefilmmaker says ...

One of the most devastating effects of Warner's recut of "Mike's Murder" is the loss of Joe Jackson's magnificent song/instrumental score (Later replaced by some bland "music by the yard" drivel by John Barry). Jackson had just come off the success of his lp "Night and Day" (which included the hit song "Steppin' Out") and his soundtrack for "Mike's Murder" almost seems like a sequel of sorts to that lp. Originally released months before the movie was to come out (and then the movie would never play in most places), Jackson's soundtrack is now only available as an import cd (but definitely worth getting). I've always wondered how Jackson's music was to fit the film in the original cut.

Posted by jimtheindiefilmmaker at April 10, 2009 11:05 AM

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MilkMan says ...

Good stuff, Jim. I had no idea. This movie seems like it was abused and harrassed and raped to no end.

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I really don't like Demme's movies, Burma. And the thought of having to sit through a wedding for an hour and listening to Barbeque Rock like Robyn Hitchcock makes me feel very anxious.

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BurmaShave says ...

I mean I'm a fan of Demme, but even so, it's pretty un-Demme. He's sweating Altman majorly, and there's some great ensemble acting and specifically the performances of Bill Irwin and Rosemarie DeWitt. I'm not saying put it on the queue, but when it turns up on Showtime in a year, it might make you happy. Robyn Hitchcock does kind of suck, yeah.

Posted by BurmaShave at April 10, 2009 11:43 AM

comment #8

PoodleSkirt says ...

Wells -- I can look up the review later to confirm, but I am pretty sure that Kael was suggesting that people don't skip another Winger flop, "Everybody Wins".

Posted by PoodleSkirt at April 10, 2009 11:51 AM

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TVMCCA says ...

jimtheindiefilmmaker wrote:
One of the most devastating effects of Warner's recut of "Mike's Murder" is the loss of Joe Jackson's magnificent song/instrumental score (Later replaced by some bland "music by the yard" drivel by John Barry).

The Barry score for MIKE'S MURDER sounded like outtakes from the BODY HEAT score.

Posted by TVMCCA at April 10, 2009 12:12 PM

comment #10

TVMCCA says ...

PoodleSkirt wrote:
Wells -- I can look up the review later to confirm, but I am pretty sure that Kael was suggesting that people don't skip another Winger flop, "Everybody Wins".

MIKE'S MURDER is infinitely better than EVERYBODY WINS--but the latter film has its pedigree (Karel Reisz direction, Arthur Miller script, Winger and Nick Nolte) that makes it look interesting on paper.

Posted by TVMCCA at April 10, 2009 12:15 PM

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MilkMan says ...

Burma: I love Altman. Just watched 3 Sisters for the second time about two weeks ago and I loved it. But I hated Altman's Wedding. So if I don't like Altman's take on the subject matter, do you think I still won't mind Demme's?

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MilkMan says ...

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comment #13

dixiedugan says ...

The soundtrack is indeed excellent. I have it on vinyl somewhere in my home.

I initially read the Robyn Hitchcock descripton as Baroque rather than Barbeque. Went to see him once per the request of a friend, who was a rabid fan of his. Okay, but no great shakes. I don't think he's half as good as his hype was.

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comment #16

thatmovieguy says ...

Wow! What a shock to see a review quoted that I wrote 25 years ago! How well I remember going to the Warner Bros. lot to see "Mike's Murder" back in the spring of 1984; I did a pretty substantial feature on the making and unmaking of the movie for my college newspaper. It's great to hear that a print of the original cut exists because everyone I talked to thought it was superior to the released version. As far as the Joe Jackson music goes, I'm pretty sure they are still audible in the background of the scene in which Winger's character hangs out at Winfield's estate. I seem to remember almost all of those songs (and they are really great) were playing in the background, one after another. But I admit I haven't seen the film in years.

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Posted by thatmovieguy at April 10, 2009 3:00 PM

comment #17

thatmovieguy says ...

By the way, TVMCCA, I also got the distinct feeling that Barry's score was a quick rewrite of BODY HEAT. Apparently, it was a last-minute assignment. I'm going to see if I can find my VHS copy of "Mike's Murder" to see if I'm correct about the Joe Jackson songs.

Posted by thatmovieguy at April 10, 2009 3:03 PM

comment #18

Gaydos says ...

Two sidenotes: I remember hearing at the time about Bridges' terms for reading the script: $1million, non-refundable. TO READ IT! It was ballsy and extreme, perhaps unprecedented and also perhaps created a bit of animosity from the studio when it came time to market the film.

Also, if one can't defend the indefensible, what's the point of being a film fan. I LOVE "Everybody Wins." And that's the only basis on which I'll defend it!!!!

Posted by Gaydos at April 10, 2009 10:52 PM

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comment #66

mufti says ...

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Posted by mufti at January 14, 2010 10:01 PM

comment #67